ABT Fan

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About ABT Fan

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    Silver Circle

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    Former dancer
  • City**
    Astoria
  • State (US only)**, Country (Outside US only)**
    New York

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  1. I was wondering why anyone would want to hack a ballet company's website but I think you just answered it!
  2. I just noticed this on ABT's site in the "Inside ABT" section: 4/20/17: HACKED BY [NEO] / TURKHACKTEAM. All seats $25. Türk Hack Team Hacked by [NEO] Hacking de bir Sanattır , Saygı duy ! [Google translate: Windows 10'a Hackers Show Even Respect!"] There's a large emblem underneath this writing; check out the link below. I stared at this for a few minutes wondering what I was missing (their website is not very modern). But, this does appear to be a hacking job. I don't see anything else awry on the website but I've only looked at a page or two. If this was really posted on 4/20, then ABT must be having a hard removing it. Thoughts? http://www.abt.org/insideabt/news_display.asp?News_ID=570
  3. I didn't realize she was on The Americans (or any other show currently on TV). What a difficult life she had in Ukraine. I don't find her comments about the ballet world surprising at all. She's given several interviews (one was a video made for ABT of all things and a few in print) where she and her husband criticized ABT for bringing in so many guest artists when they were still there. (We had some lengthy discussions on this board about the same issue.) They basically felt that it took away critical stage time from the current principals and that the home team was not getting the coaching and development it needed to bring enough people up through the ranks. Even though she and her husband gave many memorable performances, she probably feels there could have been more if more attention was paid to the full-time dancers. So, I get that she felt unimportant.
  4. The Met Museum just announced that for the first time it will have a choreographer, (woman!) Andrea Miller, be its artist in residence next season. I'm not familiar with Ms. Miller so I must check this out. https://www.nytimes.com/2017/04/25/arts/dance/dance-off-the-wall-coming-next-season-to-the-met-museum.html?rref=collection%2Fsectioncollection%2Fdance&action=click&contentCollection=dance&region=stream&module=stream_unit&version=latest&contentPlacement=2&pgtype=sectionfront
  5. Thanks for posting this. I had no idea Dance Magazine, Twitter, etc were all ablaze with this topic. I thought Ratmansky's comment on Facebook (thank you California for copying/pasting) was directed at our discussion here. I'm not on Facebook so I can't view his thread. Dance Magazine and Jennings make many valid points. I don't see how they can be disputed, but apparently they are with gusto. Now I can't wait to read the other comments and Macaulay's retort. I may need a stiff drink first.
  6. Then Ratmansky should direct his frustration to the NY Times and not to those critiquing his comments. If Ratmansky wanted to have a "proper conversation" about this topic and didn't have the time to respond thoughtfully since he was in the middle of rehearsals, then he shouldn't have responded. He knew that anything he said could be printed.
  7. I saw this on the street today and I think it's perfect for this discussion:
  8. cubanmiamiboy: I dug up an old ABT program from 6/22/05 and that performance attributed the staging to Kirk Peterson with the help of Maria Youskevitch. Peterson joined the company in '74 the same year as Misha; Youskevitch left the company that same year so Peterson may have been influenced by Misha's experience with the role, if he had any prior to defecting. ABT's first performance of Le Spectre was on 10/31/41 with Fokine himself having taught the roles to Annabelle Lyon and Ian Gibson. Igor Youskevitch (who joined the company in '46, five years after Fokine died, and who was Maria's father) was one of the earliest interpreters of the Rose alongside Alicia Alonso as the Girl. Lyon and Andre Eglevsky staged the company's premier at the Met in '72, according ABT's website, but Eglevsky is given credit as the sole original stager at the top of the credits for some reason. There is no credit given to Misha either in the program or on their website. Given the info above, the current staging holds a nearly direct link to the original choreography.
  9. Are the roles of Jigger and Louise singing and acting parts or only dancing? Broadway fever has certainly infected NYCB. What a wealth of talent and versatility that company possesses. On a side note, Scott Rudin, who is producing Carousel, will also produce a biopic on Sinatra according to IMDb.com. No word on casting. And, also a new version of A Christmas Carol. Hate to be a scrooge, but as much as I love the story do we really need another remake? Yes, I'm full of puns today. It's Friday.
  10. Yes, it's Simkin's (NY) debut. Like the others he made his official debut in Oman. Also, Copeland's.
  11. dirac, I'm so glad you posted this as I just finished reading that article in the Times. I was pretty dismayed by Ratmansky's answer that he doesn't see a problem. Those three female choreographers he sites may have the same talent that he, Wheeldon and Peck have, but he misses the point. Their work is not performed as frequently in as many (major) companies and given the same level of critical attention as the three men's. I think a lot of folks would agree that you cannot be considered a "major choreographer" without similar opportunities and exposure as these men. Also, Ratmansky's argument that Graham and Nijinka are still performed are both irrelevant and hollow examples. Graham is not a ballet choreographer and this is a discussion explicitly about classical ballet. And (seriously?), Nijinska is rarely performed nowadays. And, saying "she will have equal opportunities" after a female's talent is discovered or "arrives" demonstrates the problem! How can you "arrive" if you're not given a chance (or enough chances) to showcase and develop your work? How do you deem someone to have talent if they've never been given the chance to create something and eventually on a big stage? Was Peck considered to have "arrived" when his very first ballet was commissioned? (Having talent and great potential is not the same thing as having "arrived".) And, Wheeldon doesn't know why there is a problem? Really?
  12. Hooray! They must have just posted it because I had checked this morning. Such great news. There are still a lot of seats available for that performance on every level, but I expect that'll change drastically very soon.
  13. vipa, I agree with you. Paris definitely gets fewer roles than other female soloists and I've often wondered why she was promoted (what did management have in mind). I've always been a fan of hers too but she's not really being utilized, or certainly not in the same way the other soloists are. Perhaps LadyBubbles you're right in that McKenzie never promoted her with the intention of giving her better roles, but as a reward for what she's already accomplished. And, I agree that given her bio she's probably in her late 30's as well. I imagine that not every promotion to soloist is with the intention or hope that that person will become a principal. Take Roman Zhurbin. He's a good dancer but a better actor (the best actor they have) so I assume (again, this is my assumption only) his promotion was recognition for that very important artistic contribution. But, I seriously doubt they would have envisioned him as a principal candidate with that promotion since he performs mainly character roles and some demi-soloist dance roles but no principal/lead dance roles. I am glad they were both promoted. I wish I saw Paris get a few more soloist roles, but since it looks like they're grooming several soloists for possible principal status, there's only so many opportunities to go around.
  14. I agree that Herman Cornejo is exquisite in this role. Gorgeous, airy, light jumps and perfectly shaped arms. Just sublime.